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Apr 1991

Volume 89, Issue 4B, pp. 1851-2015

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back to top Session 2AA: Architectural Acoustics: Newer Measurement Procedures in Auditoria I
Invited Papers
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Ten years of newer auditorium acoustics measurements (A)

J. S. Bradley and R. E. Halliwell

J. Acoust. Soc. Am. Volume 89, Issue 4B, pp. 1856-1856 (1991); (1 page) | Cited 1 time

Online Publication Date: 14 Aug 2005

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This paper reviews progress in making newer types of auditorium acoustics measurements over the past 10 years. All of the newer measures require impulse responses to be obtained and the merits and limitations of various measurement approaches will be discussed including the type of source, receiver, and processing that is used. Objective descriptions and the subjective relevance of the various types of newer measures will be reviewed including both monaural and binaural quantities. Four generations of measurement systems will be described including the special problems associated with measuring inter‐aural cross correlation coefficients. Finally the questions of accuracy and repeatability will be mentioned along with some discussion of future developments and problems to be solved.
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Auditorium acoustics: What should we measure? What do we measure and what does it mean (A)

J. P. Vian and X. Pelorson

J. Acoust. Soc. Am. Volume 89, Issue 4B, pp. 1856-1856 (1991); (1 page)

Online Publication Date: 14 Aug 2005

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For many years the assessment of auditorium acoustics has been made through a set of acoustical criteria whose number and kind sometimes differ substantially between groups of specialists. The situation seems quite clear for speech auditoria as much as it is confused for music auditoria. Meanwhile a growing consensus has slowly come out about a small number of quantities that are considered to explain a large amount of the variability of subjective judgments, because they correlate individually with some subjective impressions. The acoustical quality of an auditorium should be allowed to be expressed univocally by the values taken by these criteria. Unfortunately several of these criteria are not independent and very little is known about the subjective significance of the various arrangements of criteria values. Moreover all the variability observed when measuring the criteria are related not only to physical features of the auditorium but also to a large extent to the measurement technique. Different measurement techniques are discussed and fluctuations among measurement procedures, among halls and within halls are compared. It is shown how difficult it is to make a conclusion on acoustical quality of a hall by looking only at the criteria. The need for a standardized method to take measurements is stressed, as well as the need for more research work focusing on criteria, making it possible to discriminate between halls when listening judgments are different.
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Measurement of impulse response and its applications in room acoustics (A)

H. Tachibana, H. Yano, and Y. Hidaka

J. Acoust. Soc. Am. Volume 89, Issue 4B, pp. 1856-1857 (1991); (2 pages)

Online Publication Date: 14 Aug 2005

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Impulse response includes almost all physical information of a linear system and it is also very important in room acoustics. Fortunately, owing to the recent development of digital signal processing techniques and instrumentation, it has become possible to make a precise and convenient measurement of impulse responses in rooms. In this paper, the practical techniques for this kind of measurement including scale model studies are introduced. For the measurement in real auditoriums, a sweep pulse is radiated many times from a dodecahedral omnidirectional loudspeaker and the responses are recorded on a DAT through an omnidirectional microphone or a dummy head system. From the recorded responses, impulse responses are obtained by synchronous averaging and deconvolution techniques. In scale model experiments, impulse responses are measured by using a spark discharge source and a scale model dummy head microphone. From the impulse responses measured in such ways, not only various room acoustic quantities are derived but also the sounds including the room response can be synthesized by making convolutions between the impulse responses and arbitrary dry source signals. This technique is effectively used for subjective evaluation of room acoustics. Some examples of the experimental results for real and scale model auditoriums will be demonstrated.
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Prediction of room acoustical parameters (A)

A. C. Gade

J. Acoust. Soc. Am. Volume 89, Issue 4B, pp. 1857-1857 (1991); (1 page)

Online Publication Date: 14 Aug 2005

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During a 6‐yr period, detailed room acoustical measurements have been carried out in 35 halls in Denmark and in other European countries. By subjecting these data to statistical analyses, it has been possible to confirm old and establish new relationships between design variables and the position‐averaged acoustical data. The results are presented in the form of linear, multiple regression formulas that may be used to predict the values of the newer measures of level, clarity, spaciousness, and musicians' conditions on the orchestra platform in halls with given RT and geometry.
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Subjective and objective evaluations of rooms for music (A)

Richard P. Cervone, Wei‐hwa Chiang, Gary W. Siebein, Harold W. Doddington, and Wilhelm K. Schwab

J. Acoust. Soc. Am. Volume 89, Issue 4B, pp. 1857-1857 (1991); (1 page)

Online Publication Date: 14 Aug 2005

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A dedicated, computer‐based analysis system was developed to perform a complete set of acoustical measurements of recent interest in full‐size rooms and in scale models of rooms. The measurements included reverberation time, early reverberation time, loudness, early to late temporal energy ratios, lateral energy fractions, interaural cross correlation, and speech transmission index among others. Measurements were made at multiple locations in ten large concert halls. Groups of listeners evaluated live music performances at three locations in each of the rooms using a seven point semantic differential rating scale. Correlation analysis and statistical modeling identified significant relationships among the qualities of the music in the room rated by the listeners with the physical measurements made in the rooms. Variations of subjective qualities were identified among the different rooms and within each of the rooms as well. The subjective qualities that contributed to overall acoustical impression were also identified. [Work supported by NSF.]
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Subjective and objective assessment of some reverberation enhancement systems (A)

Mendel Kleiner and Peter Svensson

J. Acoust. Soc. Am. Volume 89, Issue 4B, pp. 1857-1857 (1991); (1 page)

Online Publication Date: 14 Aug 2005

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How much of a difference does active or passive variation of a room's acoustical conditions make? Electronic architecture and reverberation enhancement have become common in the pursuit of better acoustics in multipurpose auditoria by active means. New systems show promising results. The properties of several different installations both in the U.S. and Europe have been investigated. This has been done both objectively by measurement of omnidirectional and binaural impulse responses and subjectively by the use of binaural recording. The binaural recordings used anechoic music replayed in stereo on stage. These recordings were used in pair comparison tests to investigate the dimensions of audible difference between the halls, with and without active or passive treatment of the room response. The pair comparison tests were evaluated using multidimensional scaling. The results show that some systems are able to modify the acoustical conditions to a very large extent. Differences between various system settings may be as large as between halls. Most of the subjectively perceived differences may be explained by changes in reverberation time and lateral energy factor. [Work supported by the Swedish National Council of Building Research.]
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